Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

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Jaume Cabrera (15th century), Spain

• Altarpiece from the Cathedral of Vic, tempera on wood panel, 75.5 × 123.5 cm 1400, Jaume Cabrera. Vic, Spain: Museu Diocesà, MEV 1948. Ref. Post (? date: 2, 366); Gudiol (1986: fig. 33 – col.); Rowland-Jones (1997: 9, fig. 5 – b&w). The Virgin and Child are surrounded by angel musicians singing and playing harp, vielle, lute and a cylindrical duct-flute (almost certainly a recorder, though only six finger-holes are visible. There is a great similarity to the altarpiece by Pere Serra (see below), though Cabrera's angel plays with the right hand uppermost. Some documentary evidence points to a 1400 dating for this painting (Rowland-Jones, pers. comm.)
• Virgin and Child with Angel musicians (early 15th-century), School of Jaume Cabrera. Madrid: Museo Arqueológico Nacional. Ref. Gudiol (1986: 454); Rowland-Jones (1997c: 15). Shows a duct-flute (flageolet or recorder) with lute, harp and singers.

Giuseppe Antonio Caccioli

• Title unknown, Giuseppe Antonio Caccioli (1672-1740). Brunswick: Herzog Anton Ulrich-Museum. Ref. Munich RIdIM (1999: BSm 332). Includes a duct-flute, but not clearly depicted.

Giacinto Calandrucci (1646-1707), Italian

• A Satyr, drawing, Giacinto Calandrucci (1646-1707). Düsseldorf: Kunstmuseum. Ref. Munich RIdIM (1999: Dük 185). The satyr could have a recorder, but the drawing is too impressionistic to identify it properly. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Jan Steven [Johannes Stephanus] van Calcar

• Portrait of a Musician, attributed to Jan Steven van Calcar (1499-1546/1550). Rome: Villa Spada, Picture Gallery, Room 2, No. 68. Ref. Anthony Rowland-Jones (pers. comm., 2002). A musician leans by a column, his left hand on a box on a table which also has on it some music and what may be a tenor recorder. The bell end is hidden behind the musician's fur-edged cloak, but the window/labium is quite clear and there are six finger-holes, in line, visible before the foot end is hidden. The mouthpiece, which looks rather stubby, is in shadow.

Jacques Callot

• Les Caprices (Florentine edition): Dancers with Flute and Tambourine (1617), etching, 5.72 × 8.26 cm, Jacques Callot (1592-1635). Augsburg: Städtische Kunstsammlungen, Inv. G21 746; Los Angeles: County Museum, M.61.2.10; Washington DC: Library of Congress, Dayton C. Miller Collection. Ref. Munich RIdIM (1999: Ask 157); Lancaster (2007: 19, fig.) A Commedia dell'Arte scene with two grotesque figures dancing and playing a tambourine and a duct-flute (flageolet or recorder).
• Temptation of St Anthony, second plate (1634), engraving, 36 × 33.3 cm, Jacques Callot (1592-1635). London: British Museum. Ref. Salamon (1972: 107 - b&w). St Anthony is dragged from his cave by a multitude of devils and fire-breathing dragons. Above him, a hellish band of devilish and beastly musicians bray and play lute, violin and a flared-bell pipe (possibly a duct-flute) in the unusual manner of the piper in Hieronymous Bosch's Garden of Earthly Delights. Perhaps he, like his forebear, is also a music critic!

Dionys [Denijs, Denis, Dionisio Fiamingo] Calvaert [Caluwaert]

• St Cecilia, Dionys Calvaert (1540-1619). Parma: National Gallery. St Cecilia looks heaven-ward, her hand on the keys of a portative organ. Beside her (bottom left) a cornett, a bow, and a viola stand side by side, with a timbrel and a ? tenor flute underneath. The recorder shows the beak, window/labium and finger-holes in line. It is cylindrical with a wide-bore bell-flare below the 7th hole. Above, angel musicians sing and play lute, cornett, and trumpet. Notes by Anthony Rowland-Jones (pers. comm.)

Pier Paolo Calzolari (1943-)

• Un Flauto dolce per farmi suonare (1968), sculpture, 46 × 88 cm, Pier Paolo Calzolari (1943-). Munich: Sammlung Goetz. Exhibition: The Italian Metamorphosis, 1943-1968, Guggenheim Museum Ref. Moeck, Tibia 1/98 (1968). A small modern style recorder lies on tablet on which the title of the piece appears in relief. From the tablet a wire snakes towards a loudspeaker. This should be compared with Titian's comparatively paltry efforts. What a long way we've come since the 16th century!

Luca Cambiaso

• Parnassus with a Soldier Entreating Apollo, ceiling fresco, Luca Cambiaso (1527-1585). Genova: Palazzo Pessagno, Salita S.Caterina. Ref. Suida-Manning & Suida (1957: fig. 66 – b&w). A warrior kneels before Apollo who is seated on a wooded hillside holding his lyre. In the foreground the Muses watch and converse amongst themselves, several holding instruments including straight trumpet, tambourine (with pellet bells and jingles), and a narrow cylindrical duct-flute (viewed side-on, the beak clearly depicted). Underneath an open music book, one Muse holds a larger recorder only the beak of which can be seen. In the bottom right-hand corner lies a syrinx of the duct-flute kind; at the bottom left stands a viola da braccio.
• The Nine Muses (1569), pen, ink and pencil drawing, Luca Cambiaso (1527-1585). Stockholm: Nationalmuseum, NM H 1569/1863. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). The Muses entertain each other with music played on horn, straight trumpet, viol, harp, bagpipe and duct-flute. One of the duct-flutes is sketchily drawn and is of at least tenor size; it has no beak, but there are two incised rings close together near the mouthpiece and a mark indicating a window/labium; otherwise the instrument has no distinguishing features. A second cylindrical duct-flute on the ground, however, has a beaked mouthpiece, window/labium, and a finger-hole near the end of the instument beneath which is an incised ring and short bell flare. The artist has added in pencil where the finger-holes woul be if they were visible (as if the instrument were transparent). The first of these pencilled finger-holes is above the windway opening, and the second is half way down the labium! The third is where the first finger-hole should correctly be. After a gap, the fourth, fifth and sixth pencilled rings are correctly placed for the lower hand, with the visible hole (that is in brown ink) shown just below the last of the pencilled holes. All this suggests that the artist was rather unclear about what the details of the instrument actually looked like. Above the date 1569 can just be made out another date which is probably 1529. Notes by Anthony Rowland-Jones (loc. cit.)

Adam Camerarius (op. 1644-1685), Dutch

• Family Portrait, Adam Camerarius (op. 1644-1685). Darmstadt: Hessisches Landesmuseum. Ref. Munich RIdIM (1999: DAhl 43). A boy holds a recorder of soprano/alto size with a marked bell fare. Another child dances with a tambourine.

Domenico Campagnola

• Shepherd playing his Pipe with Landscape (before 1550), pen and brown ink drawing on paper, 40.4 × 68.5 cm, Domenico Campagnola (1500 – after 1581). Paris: Louvre, Print Collection, Inv. 4754. Ref. Joconde Website (1999). A pastoral scene against a landscape which includes a valley, a village, fields, peasants, forest and mountains. A shepherd, seated amongst his sheep, plays a duct-flute (flageolet or recorder). Not seen. There is an engraving of this work by Caylus.
• Triumph of David, Domenico Campagnola (fl. 1500-1581). Berlin: Staatliche Museen, Kupferstichkabinett. Ref. Zeitschrift für Kunstgeschichte 19 (1966: 335); Rasmussen (1999c). "The Welcoming Women play generic woodwind (recorder?) and two tambourines" (Rasmussen, loc. cit.)
• Ascension of Christ, fresco, Domenico Campagnola (fl. 1500-1581). Padua: Chiesa del Convento de Praglia. Ref. Grossato (1966: 186-187, fig. 121); Rasmussen (1999c). "Putti play lyre, panpipes (?), recorder (held) and tambourine" (Rasmussen, loc. cit.)

Giulio Campagnola

• Shepherds in a Landscape, Giulio Campagnola (ca 1482-1516). Whereabouts unknown. Ref. Martineau & Hope (1982: 310-312, 250, pl. 7) Completed by Domenico Campagnola after Giulio's death. Shows four shepherds seated with some sheep. One plays a hurdy-gurdy, the other an ambiguous cylindrical pipe (possibly a recorder).
• Shepherds in a Landscape (ca 1517), engraving, Giulio Campagnola (ca 1482-1516) & Domenico Campagnola (ca 1500-1564). Ref. Turner (1966: fig. 55); Burlington Magazine 109: pl. XLV (1967); Burlington Magazine 134: xxi (1992); Levenson et al. (1973: 41); Rasmussen (2003). "The shepherds have a hurdy-gurdy and a long-necked bowed stringed instrument. A woman plays a recorder" (Rasmussen, loc. cit.) Not seen.
• Shepherds in a Landscape (ca 1517), engraving, Giulio Campagnola (ca 1482-1516) & Domenico Campagnola (ca 1500-1564). Ref. Hind Early Italian Engraving 61(2): pl. 774 (?date); Rasmussen (2003). A variant of the above, reversed and with a different background and the addition of two cows. Not seen.
• The Old Shepherd, plate 7.9 × 13.5 cm, Giulio Campagnola (ca 1482-1516). New York: Metropolitan Museum of Art, 37.3.11. Ref. Hind Early Italian Engraving 5(8): 11 (?date); Archiv Moeck. In front of a rambling wooden house, watched by a goat and a sheep, an old shepherd reclines with an ambiguous pipe in his mouth.
• Young Shepherd, engraving, 13.2 × 7.8 cm, Giulio Campagnola (ca 1482-1516). Cincinnati: Art Museum, 1943.88, Hind 5, no 10 11. Ref. Archiv Moeck. A young shepherd reclines on a bank before a large rambling house; in his hand is a duct-flute (possibly a double recorder).
• Landscape with a Shepherd Couple (2nd half of the 16th century), drawing in pen and brown ink, after Giulio Campagnola (ca 1482-1516). Paris: Louvre, Inv. 4780. Ref. Joconde Website (1999). Against the background of a castle by a river with a water mill, a shepherd and sheperdess play guitar and duct-flute (flageolet or recorder). Not seen. There is another copy by Watteau (1684-1721) in the Musée des Beaux Arts et d'Archéologie, Besançon.

Pedro Campana or Petrus Campania or Companicusis or Peter Campener – see Peter de Kempener

Jacob van Campen [or Kampen]

• Hermes lulling Argus to Sleep (ca 1635), oil on canvas, 204 × 194 cm, Jacob van Campen (1595-1657). The Hague: Mauritshuis. Ref. Haak (1984/1996: 258, pl. 546); Griffioen (1988: 438-439), Rowland-Jones (1998c: 16; 1999; pers. comm. 2001); Blanker et al. (1999: pl. 4 – col.); Rijksbureau voor Kunsthistorische Documentatie 10645 (2001); Website: Museum Boijmans Van Beuningen (2001). Hermes (as a young boy) lulls Argus to sleep by playing on a flared-bell, soprano recorder (the lowest little finger down, but no finger-holes or window/labium actually visible), surrounded by sleepy dogs and beasts, including a white heifer (Io). Comtemporary photographer Vik Muniz has made an amusing parody of this work in his Junk Series – see here.

Peter Campener – see Peter de Kempener

Campi

• Merry Company (ca 1600), oil on canvas, 130 × 49 cm, attributed to the school of Campi. Location unknown: sold at the Hôtel des Ventes, Cannes, 10 April (1990). Ref. Gazette de l'Hôtel Drouot No. 14, 6 April (1990). Around a table on which there is food on plates and a guitar, a group of men drink whilst one plays a slender, flared-bell pipe which may represent a recorder, although the bell is very large for such a slender instrument.
• Decorated ceiling, Campi. Location unknown. Ref. Paolo Biordi (pers. comm., 2000). A tortured-looking boy lies crouched beside a pile of instruments which include a viol (only the pegbox, fretted neck and part of the body visible), a hunting horn, a harp (the arm of which is visible) and a cylindrical pipe (possibly a recorder, though only the lower section and three finger-holes are visible).

Bernadino Campi (1522-1591)

• Ceiling decoration (1583-1584), fresco, Benardino Campi (1522-1591). Sabbioneta: Palazzo del Giardino, Camera dei Miti, ceiling. Ref. Charles Rowland-Jones (2006, pers comm. ex Anthony Rowland-Jones). A series of interlocking panels in which a strutting cupid (holding Mercury's caduceus and winged helmet) is surrounded by birds and figures from classical myths including Daedalus and Icarus, Arachne and Minerva, Saturn and Filira, and Apollo and Marsyas. The latter holds a shepherd's pipe, so often represented by a recorder. The instrument is cylindrical but otherwise featureless. The Palazzo del Giardino was built as a pleasure palace between 1578 and 1588 by the Gonzagas, starting with the main block and then the Galleria. The Camera dei Miti was designed by Fornarino (Givovan Francesco Bicesi) with gilded stucco work by Martiri Pesente. Campi and his team decorated the seven rooms in the Garden Palace between 1583 and 1584.

Giulio Campi

• Apollo and the Muses, oil on panel, 40 × 97 cm, Giulio Campi (p. 1507 – 1573). Parma: National Art Gallery, Inv. 191. Ref. Villa I Tatti, N 2740 A6 (1997); Riccomini et al. (1997, 2: 177, pl. – col.); Paolo Biordi (pers. comm., 2000). Apollo, seated with his lyre, holds court amongst the Muses most of whom hold or play musical instruments. One plays an ornate and exotically shaped viol, another a violin; one holds a syrinx with seven tubes, another a straight trumpet. Two (one on each side of the painting) hold recorders: that on the left holds hers by her side in her left hand, her right hand holding a music book steady in her lap; that on the right holds her instrument two-handed as if to play it. Both instruments are of cylindrical construction, the beak and window clear; on the left-hand instrument four of the finger-holes for the right hand are visible, the lowest slightly offset; on the right-hand instrument the fingers are deployed somewhat haphazardly, though again the lowermost hole seems slightly offset to the others.

Peter Candid [Pietro di Pietro Candido, Pieter de Witte] (ca 1548-1628)

• Virgin and Child with St Anne (ca 1590), oil on canvas, 226 × 159.1 cm, Peter Candid (ca 1548-1628). Boston: Museum of Fine Arts, 1980.72. Above the central scene angel musicians sing and play harp and vielle; in the top right hand corner a putto plays a duct-flute. The latter's hand position is suggestive of recorder playing, and a window/labium is just visible.

Antonio Canova

• The Muse Euterpe, Antonio Canova (1757-1822). Asolo: Civic Museum. Ref. Anonymous (2000). Euterpe holds a shawm with a pirouette in her right hand and two curious keys. There is no bell flare. In her left hand she holds an alto pipe, probably a duct-flute (possibly a recorder) , which seems to have a beaked mouthpiece and a very slight bell and bore flare. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Terpischore and Euterpe, Antonio Canova (1757-1822). Possagno: Civic Museum. Ref.Anonymous (2000). Terpsichore dances with two cupids one playing a harp bigger than himself on his shoulder. Euterpe holds a shawm with a pirouette in her right hand and two curious keys. There is no bell flare. In her left hand she holds an alto pipe, probably a duct-flute (possibly a recorder) , which seems to have a beaked mouthpiece and a very slight bell and bore flare. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Simone Cantarini, 'Il Pesarese'

• Mercury and Argus, Simone Cantarini, 'Il Pesarese' (1612-1648). Location unknown. Ref. Bartsch (1854-1870, 19: 142.31). Mercury reclines on a bank playing an alto-sized flared-bell duct-flute (window/labium and several finger holes visible) with his left hand, holding his caduceus in his right. Argus reclines against a tree, looking very sleepy. In the background are Argus' cattle.
• Mercury and Argus, Simone Cantarini, 'Il Pesarese' (1612-1648). Stockholm: Nationalmuseum, NM52. Ref. Anthony Rowland-Jones (pers. comm., 2000). Mercury plays a recorder-like instrument of tenor size to the listening Argus, who is not yet drowsy. The mouthpiece is narrow and the whole instrument outwardly gently conical with a greater expansion at the bell end. All fingers are down except the left hand lower little finger, but this is in playing position with the hand much too near the bell end for a shawm. Neither finger-holes nor window/labium are visible. The context suggests a recorder. Notes by Rowland-Jones (loc. cit.)
• Mercury and Argus, engraving by Gio. Jacomo Rossi, after Simone Cantarini, 'Il Pesarese' (1612-1648). Ref. Warburg Institute, London (2000). Mercury plays to Argus on a longish thin pipe (possibly a recorder) with a flared bell, two finger-holes of which can be seen but no window/labium. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Mercury and Argus, engraving, 25.2 × 30 cm, Simone Cantarini, 'Il Pesarese' (1612-1648). Michegan: The University of Michigan Museum of Art, Accession No. 1961/2.18; New York: Metropolitan Museum of Art, 26.70.4[142]. Ref. Websites: University of Michigan Museum of Art; Metropolitan Museum of Art (2005). Argus and his dog recline drowsily amongst the trees as Mercury pipes on a flared-bell recorder, sitting on a rock with his caduceus beside him and his sword almost hidden beneath his robe. Io (as a heifer) glances back at them from her pasture in the background.
• The Flaying of Marsyas, oil on canvas, Simone Cantari, 'Il Pesarese' (1612-1648). Ref. Gabrius Data Bank (2000 - col.) Marsyas bound with his arms outstretched, screams as Apollo flays the skin from his shoulder. Vaguely depicted at the bottom left is Apollo's lyre; and at the bottom right lies what must be Marsyas' pipe, the window/labium of which may just be visible.

Gustav Jakob Canton (1828-1885), German

• Boy with a Flute, painting, Gustav Jakob Canton (1828-1885). Mainz: Mittelrheinisches Landesmuseum, Inv. 0/595. Ref. Munich RIdIM (1999: 162). Catalogued under 'blockflöte' rather than 'flöte'. Not seen.

Estella Canziani (1887-1964)

• The Piper of Dreams (1914), painting, 46.9 × 34.2 cm, Estella Canziani (1887-1964). Ref. Recorder & Music Magazine 25(2): cover - col. (2005). Surrounded by fairies, a wistful country boy in a feathered hat, sits beneath a tree playing a slender, cylindrical pipe, probably a duct-flute (flageolet or recorder). This picture was amongst the most popular paintings of the Victorian/Edwardian period, and was a favorite among English soldiers in the trenches of World War I.

Francesco Capella, called 'il Daggiù'

• Duet (18th century), Francesco Capella (1711-1784). Bergamo: Casa Mazzocchi. Ref. Angelo Zaniol (pers. comm., 2003). A young woman plays a lute and a man plays a baroque alto recorder, very clearly depicted.

Michelangelo Merisi da Caravaggio

• Musical Trio (16th century), guache, 92.5 × 127.5 cm; attributed to Michelangelo Merisi da Caravaggio (1571-1609/1610). London: Duke of Devonshire's Collection. Ref. La Rassagua Musicale 5 (Sept, 1930); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Three carousing musicians sing and play lute and a soprano flared-bell recorder.
• Concert, engraving, 43 × 53.3 cm, engaving by Thomas Chambars (ca 1724-1789, Irish), after Michelangelo Merisi da Caravaggio (1571-1609/1610). The Hague: Gemeentemuseum. Ref. Paris RIdIM (2000). From the original picture attributed to Michelangelo da Caravaggio in the collection of the Duke of Devonshire (see Musical Trio), though the lute in the original has become a guitar and the recorder an ambiguous pipe. Three carousing musicians sing and play guitar and a small flared-bell pipe (possibly a duct-flute).
• The Lute Player, oil on canvas, 101.5 × 129.5 cm, Michelangelo Merisi da Caravaggio (1571-1609/1610). New York: Private Collection. Ref. Connoisseur 145 (1960); Scherliess (1972: pl. 50, as by Carlo Saraceni); Christiansen (1990: front cover, 8 & 34-35 - col.); Camiz (1994: 62, fig. 4); Ferino-Pagden (2001: 104); Exhibition Catalogue: Colori della musica …, Rome (2000-2001: 19); Mahon (1990); Postcard: Royal Academy of Arts, London (2001); Exhibited: The Genius of Rome, Royal Academy (2001); Anthony Rowland-Jones (2001: 15); Visual Collection, Fine Arts Library, Harvard University, 372.Sa71.90[a], as by Saraceni (2002); Rasmussen (2002, Lute). A young woman plays a lute, her music books on a table in front of her with a flared-bell recorder (with paired holes for the lowermost finger), violin, and miniature spinet. There is a copy of this by Carlo Magnone in the Palazzo Barberini, Rome. The music is clearly legible as Madrigals xxxii and xxiii by Arcadelt. A replica of this work appeared on the London art market in 1960 (Connoisseur, loc. cit.)
• The Concert (ca 1595), oil on canvas, 92.1 × 118.4 cm, Michelangelo Merisi da Caravaggio (1571-1609/1610). New York: Metropolitan Museum of Art, 52.81 Painted for the artist's first great patron, Cardinal Francesco del Monte. Three musicians play lute and a pipe (probably a cornetto) whilst a third reads a score, his violin beside him. Behind them, Cupid picks at some grapes. Although it was described by contemporaries as simply "una musica" (music piece), it is an allegory of music. Cupid, "who is always in the company of music" (Vasari), is shown at left with a bunch of grapes, "because music was invented to keep spirits happy, as does wine" (Ripa). The costumes have a vaguely classical look. The surface of the picture is worn and there are extensive losses in the back of the right-hand figure (the piper, unfortunately) and in the music and the violin. A copy sold in London in 2006 (see below) was used by the Metropolitan Museum to reconstruct the damaged areas of their own painting, notably the upturned sheet of music that had been largely destroyed. Another copy another copy was sold in Berlin in 1901.
• The Musical Party (ca 1595), oil on canvas, 94.7 by 125 cm, follower of Michelangelo Merisi da Caravaggio (1571-1609/1610). Location unknown: auctioned by Sotheby's (London), Sale LO6032, Old Master Paintings Day, 6 July 2006, Lot 219 (sold.) Ref. Website: Sotheby's (2006: Lot 219); Gabrius Databank (2007 - col.) This composition repeats that of the painting commissioned from Caravaggio by Cardinal del Monte in 1594, today in the Metropolitan Museum of Art, New York. The compositions are almost identical, with only minor differences between the two versions (such as the decoration of the crimson drapery of the principal musician). Three musicians play lute and a cornetto whilst a third reads a score, his violin beside him. Behind them, Cupid picks at some grapes. Although it was described by contemporaries as simply "una musica" (music piece), it is an allegory of music. Cupid, "who is always in the company of music" (Vasari), is shown at left with a bunch of grapes, "because music was invented to keep spirits happy, as does wine" (Ripa). The costumes have a vaguely classical look.
• Portrait of a Recorder Playing Boy in a Plumed Hat, oil on canvas, attributed to Michelangelo Merisi da Caravaggio (1571-1609/1610). Location unknown. Ref. Gabrius Databank (2002). A portrait of a boy in a plumed hat, a cloak wrapped loosely around his shoulders, playing an alto-sized flared-bell recorder with a metal-sheathed beak. Auctioned 2 June 1993, sold (Gabrius, loc. cit.)

Taborda Vlame Frey Carlos (fl.1517-1540), Dutch.

• Assumption of the Virgin: Musical Angels, Taborda Vlame Frey Carlos (fl.1517-1540). Lisbon: National Museum of Ancient Art. Bridgeman Art Library (2005, Image XIR 170593). Angels playing trombone, trumpet, pipe (possibly a recorder) and shawm.

Giovanni Cariani = Giovanni Busi

Vittore Carpaccio

• A Monk and three Musicians in a Room, pen and brown ink wash on blue paper, 18.9 × 27.7 cm, Vittore Carpaccio (1460/5-1525/6). London: British Museum. Ref. Royalton-Kisch et al. (1996: 44-45, pl. 16); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Two of the musicians play lutes; another plays a rebec. On the wall behind hang a viola da braccio and a timbrel; On a bench before the players lie a cylindrical duct-flute (probably a recorder) and a curved instrument (possibly a cornett), both very sketchily drawn.

Adriaen Carpentier (op. 1739-1778), French

• The Player, oil on canvas, 71 × 57 cm, Adriaen Carpentier (op. 1739-1778). London: Sotheby's, Lot 34, auctioned 6 April 1993. Ref. Sotheby's Catalogue (April 1993: 54, pl. 34). "Half-length [portrait of a man], wearing a grey coat decorated with red and blue ribbons, a recorder in his right hand" (Sotheby's, loc. cit.) The head of the instrument is out of frame and the single standing key seems to indicate that a flute was intended rather than a recorder.

Giulio Carpione [Carpioni]

• Bacchanal, Giulio Carpione (1611-1674). Milan: Sforza Castle. Bacchus, at the centre, plays a pipe (possibly a duct-flute) listened to by two women, two men, a boy, and a man in drunken stupor. A centaur clashes cymbals at the left. Notes by Anthony Rowland-Jones (pers. comm.)
• Pan's Music Lesson (1668-1671), oil on canvas, 68 × 210 cm, Giulio Carpione (1611-1674). Paris: Louvre Inv. RF 1983-52. Ref. Lallement & Devaux (1996: 237-238, pl. 3 – b&w); Joconde Website (1999). Pan mellows out playing a pipe (his swollen cheeks suggesting a shawm rather than a duct-flute) surrounded by men and women in various stages of undress, some asleep. Two putti (one holding a slender flared-bell pipe) chase a naked women banging a timbrel; another dozes, holding what looks very much like a duct-flute (flageolet or recorder) in his crossed arms. An embarrassed statue (?Aphrodite) looks aside. If only all music lessons were like this! There is clearly a relationship between this work and the the same artist's Nymphs and Satyrs around a Statue of Priapus (see below)
• Nymphs and Satyrs around a Statue of Priapus 92.5 × 71 cm, Giulio Carpione (1611-1674). Location unknown: sold Sotheby's, London, 5 March 1969. Ref. Sale Catalogue (1969: No. 22); Paris RIdIM (2000). At the foot of a statue of Priapus (looking somewhat haughty), a satyr (?Pan) mellows out playing a flared-bell duct-flute, probably a recorder despite his somewhat swollen cheeks, since the window/labium seems to be visible, and all fingers of the lowermost (left) hand seem to be deployed covering their holes. On a plinth behind him a baby satyr dances. In front a putto bangs two cymbals together, a second lies fast asleep in front of an enormous tambourine, and a third dozes in the bottom left-hand corner. Two naked women look on. In the background a second satyr plays a tambourine whilst a third semi-clad woman dances; beside them a fourth putto claps his hands and dances. There is clearly a relationship between this work and the the same artist's Pan's Music Lesson (Louvre, see above).
• Cupid triumphant over War, canvas, 72 × 57 cm, Giulio Carpione (1611-1674). Location unknown: sold St Germain-en-Laye, 9 December 1990. Ref. Gazette H.D. (30 November 1990: 343); Paris RIdIM (2000). Cupid leans on a drum playing a slender flared-bell recorder, the beak, window/labium of which are clearly depicted. He plays right hand uppermost, with all fingers of the lowermost (left) hand covering their finger-holes. Behind the drum the bell of what appears to be a shawm projects, the rest of the instrument hidden behind Cupid's back.
• Mercury and Argus, oil on canvas, circular, Giulio Carpione (1611-1674). Ref. Gabrius Data Bank (2000 - b&w). Playing a long cylindrical pipe (probably a duct-flute), Mercury lulls a drowzy Argus to sleep.
• Saints Cassia, Innocenza, Gaudenzia and Neofita (ca 1665-1670) ca, oil on canvas, Giulio Carpione (1611-1674). Vicenza: Basilica dei SS. Felice e Fortunato Ref. (Brugnolo & Cevese (1993: 68 - col., detail). Two putti play rebec and a slender pipe. No details of the latter can be seen, but the little player's hands are well disposed for recorder-playing. In particular, the little finger of the lowermost (right) hand is characteristically stretched as if to cover its hole.
• Bacchanal, Giulio Carpione (1611-1674). Reims: Musée des Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., 2003). A satyr at the centre plays an alto-sized duct-flute, probably a recorder. Most of the beak is in his mouth, and it has a long window/labium. The instrument is near-cylindrical with a slight bell flare. The player's right hand is lowermost with the little finger lifted. Fingers 3 and 4 of the left hand are also lifted, hiding any finger-holes beneath. No lower finger-holes are visible. other instruments depicted include tambourine, a large frame drum, and a very thin double-pipe played by a naked boy as he dances.
• Pan and a Nymph (1666-1671), oil on canvas, 68.5 × 53 cm, Giulio Carpione (1611-1674). Venice: Ca' Rezzonico - Museo del Settecento Veneziano, Sala 4, Collezione Martini Inv. 53. Pan plays his pipe to a seated nymph, watched by a putto who reaches for something in an enormous jar. At the nymph's feet is a large tambourine (with jingle rings). The pipe is cylindrical and slender, but Pan's fingers and thumb seem well disposed for recorder playing, despite his puffed out cheeks.

Agostino Carracci

• Annunciation, oil on canvas, 48 × 35 cm, Agostino Carracci (1557-1602). Paris: Louvre, Inv. 182. Ref. Joconde Website (1999). In the clouds above Gabriel (who has just surfed in on his own cloud) and Mary (who has dropped her washing in alarm), putti and angel musicians sing and play lute and duct-flute, almost certainly a recorder (given the right hand playing position with the lowermost finger hovering above its hole).
• History of Cremona: The Goddess Cremona (1589), engraving by Ant. CAM.IN after Agostino Carracci (1557-1602). Ref. Bartsch (1854-1870, 18: 137.193 N.Y.) At the left of the goddess, by her feet, are musical instruments including a duct-flute of alto/tenor size which shows four finger-holes before the rest of the instrument is hidden behind a lute. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Annibale Carracci

• Title unknown, Annibale Carracci (1560-1609). Ref. Burlington Magazine (1998). Includes a recorder-playing angel whose smallish instrument has double holes for fingers seven and three, a solution found in some instruments to the g# problem. Note by Anthony Rowland-Jones, pers. comm. (1999).
• Baptism of Christ (1585), Annibale Carracci (1560-1609). Bologna: Church of St Gregory. Ref. Cooney & Malafarina (1976). In the top half of the picture, beneath the figure of God the Father stretching across, are six angel musicians playing viola, ? violin, flute, lute, viol and recorder. The latter is of canto size, with a bell flare. The beak is clear, but the window/labium is obscured. The finger-holes are not visible, but only the third finger of the upper (left) hand is raised; all the others, including the little finger of the right hand are on the instrument. The open bore-end shows that most of the flare is due to the thickening of the wood. The playing position is perfect. Notes by Anthony Rowland-Jones, pers. comm. (1999).
• Assumption of the Virgin (ca 1587), Annibale Carracci (1560-1609). Dresden: City Museum. Ref. Cooney & Malafarina (1976); Anthony Rowland-Jones (pers. comm., 2001). An angel at the top left plays an alto-sized duct-flute, possibly a recorder. The mouthpiece is beaked, the window/labium is quite clear and although no finger-holes are visible and the hands are rather high up they are in excellent recorder-playing position, especially the little finger of the left (lowermost) hand. The instrument is cylindrical, except for a rather sudden but slight bell fare at the end. The detailing is clear enough to see the bore opening. Notes by Anthony Rowland-Jones (loc. cit.)
• Venus Asleep with Cupids (1602-1603), oil on canvas, 190 × 328 cm, Annibale Carracci (?1560-1609). Chantilly: Musée Condé, Inv .63. Ref. Tiziano et Venezia (1980; fig. 208); Cooney & Malafarina (1976); Paris RIdIM (1999); Joconde Website (1999). One of a series of pieces commissioned by Odoardo Farnese for the Farnese Palace, Rome. A mythological scene in which the sleeping Venus is surrounded by putti who dance and play tambourine and duct-flute (probably a recorder to judge by the hand, with the window/labium and bell-end clearly shown) against the background of a landscape. The instrument is held with the right hand down and all holes are covered. Notes by Anthony Rowland-Jones (pers. comm.)
• The Angel Gabriel in Glory with Angel Musicians and Cherubim, oil on canvas, 249 × 212 cm, Annibale Carracci (?1560-1609). Chantilly: Condé Museum, Inv. 69. Ref. Joconde Website (1999). A biblical scene in which the Angel Gabriel is surrounded by angel musicians singing and playing lute, timbrel and recorder -- all fingers of the player's lowermost (right) hand are covering their holes.
• Coronation of the Virgin (?1609), pen & brown ink and brown wash with white highlights, 46 × 47 cm, Annibale Carracci (?1560-1609). Dijon: Musée des Beaux-Arts, Inv. CA 785. Ref. Posner (1971: pl. 94b), Paolo Biordi (pers. comm., 2000); Anthony Rowland-Jones (pers. comm., 2004). Painted in Rome. The Virgin ascends into Heaven and is crowned. Beside and beneath her, on clouds, angel musicians play double bass, organ, viol, lute, flute, cello, an ubo (unidentified bowed object) and duct-flute (probably a recorder). Two cherubs at the very front centre sing from music. The duct-flute is at the lower left and is of alto or tenor size, held at the lips but not played. Its sideways position shows a marked beak, although the window/labium is not visible. The right hand is lowermost with all fingers down, but two finger-holes show close to the bell flare of this otherwise cylindrical instrument.
• Coronation of the Virgin (p.1595), oil on canvas, 117.8 × 141.3 cm, Annibale Carracci (?1560-1609). New York: Metropolitan Museum of Art, Inv. 1971.155. Ref. Metropolitan Museum of Art (2002, fig. - b& w); Exhibition: Giovanni Lanfranco: La Vertigine del Barocco, Palazzo Venezia, Rome (March - July, 2002); Anthony Rowland-Jones (pers. comm., 2002); Constance Old (via Amanda Pond 2002, pers. comm.) Angels sing and play viola, viols, mute cornett, lute and (at far right in shadow) a small pipe which could be a recorder. The pipe is cylindrical before the bell where half the lower right-hand is completely hidden.
• Adoration of the Shepherds (1597-1598), oil on canvas, 103 × 85 cm, Annibale Carracci (?1560-1609). Orléans: Musée des Beaux-Arts. Ref. Villa I Tatti ND623C38P6; Posner (1971: 44, pl. 102a); Paolo Biordi (pers. comm., 2000). The shepherds join Mary in worshipping the Holy Child whilst above them angel musicians sing and play violin, viol, lute and a flared-bell recorder, the charcteristic beak and window/labium of which are clearly visible, though the fingering seems haphazad.
• Studies of angels playing the viol and recorder (ca 1597), black chalk on laid, off-white paper, 16.9 × 21.4 cm, Annibale Carracci (?1560-1609). Liverpool: The Walker Art Gallery. "This sketch is a working drawing for the Adoration of the Shepherds (Musée des Beaux-Arts, Orléans) painted by Annibale Carracci in Rome. It shows the figures not as finally painted but in the process of being defined. Many changes were made between the initial large sketch (now in the Fitzwilliam Museum, Cambridge) on which these figures are based and the final painting.
  
  The combination of relatively finished areas, such as the viol-playing angel, with rougher drawn figures, is common in later drawings by Carracci. However, the careful chalk marks are not altogether typical of his later style. This may indicate the work was executed by an assistant.
  
  This drawing is not securely dated. It may have been made around the same time as the painting (1597 - 1598), or may date from after 1600." (Walker Gallery).
• Silenus with a Pipe, school of Annibale Carracci (?1560-1609). Dubrovnik: Rector's Palace, Art Gallery and Museum. Ref. Charles Rowland-Jones (pers. comm., 2001). This picture is hung above a doorway and is dark and probably needs cleaning. Silenus' pipe is of soprano size. It is played right hand lowermost with six fingers covering their holes and the lowermost little finger lifted as if above its hole. There is a possible window/labium, but no other identifying details are discernible. Silenus' hands are in recorder-playing position (Charles Rowland-Jones, loc. cit.)

Ludovico [Lodovico] Carracci

• The Glory of the Angels, oil on canvas, 350 × 200 cm, Ludovico Carracci (1555-1619). Bologna: Church of San Paolo. Ref. Abbiati, in Fabbri (1952, 2: 113); Remnant (1981: fig. 136 – b&w); Archiv Moeck; Villa I Tatti ND623C42B6; Bodmer (1939: 128, no. 36, pl. 92 – col.); Paolo Biordi (pers. comm., 2000). A host of angels play instruments of every kind including triangle, cymbals, organ, cornett, lute, viol, a magnificent bass sackbut, harp and two or three duct-flutes. Of the latter, one (near the cornett player) is a cylindrical flageolet or recorder; the other (near the sackbut player) is flared and obviously a recorder, with the little finger of the lowermost hand covering its hole. Amongst the shady figures in the background, one plays a pipe which could be a duct-flute. This painting has been attributed to Annibale Carracci.
• The Recorder Lesson, Ludovico Carracci (1555-1619). Florence: Uffizi, Print Collection. Ref. Archiv Moeck; Paris RIdIM (1999). His arms encircling his young pupil, a man fingers a cylindrical recorder whilst she blows it.
• The Triumph of Bacchus, drawing, Ludovico Carracci (1555-1619). Florence: Uffizi. Ref. Visual Collection, Fine Arts Library, Harvard University, 372d.C233.4Ba; Rasmussen (1999c). "Bacchants play recorder, straight trumpet and tambourine. A centaur plays a lyre" (Rasmussen, loc. cit.)
• The Ascension, oil on canvas, 256 × 160 cm, Ludovico Carracci (1555-1619). Modena: Galleria Estense, Inv. 272. Ref. Bodmer (1939: 128, no. 36, pl. 92 – col.); Villa I Tatti ND623C42B6; Paolo Biordi (pers. com., 2000); Cosetta (1985, 1: pl. 59). Christ rises to heaven, born aloft by winged putti and entertained on either side by angel musicians. On the left the latter play violin, theorbo, flute, and a duct-flute (flageolet or recorder). On the right are viol, cornett and a second duct-flute (flageolet or recorder). Of both duct-flutes only the head and window/labium are visible.
• Assumption, Ludovico Carracci (1555-1619). Modena: Galleria Estense, Inv. 407. Ref. Anthony Rowland-Jones (pers. comm., 2002). Musical angels include viol, viola, cornett, flute, archlute and a duct-flute clutched in the player's left hand beyond which only the head end is visible. Another possible duct-flute is just visible at the top right which has a window/labium but is held so clse to the mouth as to leave little room for a windway.
• Mystic Marriage of the Virgin, Ludovico Carracci (1555-1619). Rome: Chiesa del Corpus Domini. Ref. Staedel (1933: pl. 57); Anthony Rowland-Jones (pers. comm., 2002). At the top, the Virgin kneels before Christ with angels, some of whom have musical instruments. At the right is a viol player; at the left are a choir, a lutenist, and a piper (far left). The pipe (of alto size, played right hand lowermost) could be a recorder or a cornett.

Michiel Carree

• Landscape with a Flute-playing Shepherd, oil on canvas, 63 × 53 cm, Michiel Carree (17th century). Brunswick: Herzog Anton Ulrich-Museum, Inv. No. 1061. Ref. Bildkunst Foto Marburg (DISKUS-Objekt-Dokument 00010800 – b&w). A shepherd sits on a bank playing his pipe (? flageolet or recorder) as his assistant herds their beasts into an opening in the forest.

Rosalba Giovanna Carriera

• Love presiding over a concert of flute and harpsichord, painted ivory, circular, 10 cm diameter, Rosalba Giovanna Carriera (1675-1757). Paris: Musée de Louvre, Inv. 4801. Ref. Joconde Website (2007 - col.) A cupid stands between two lovers, a young woman playing a harpsichord and a young man playing a slender pipe with a hint of a window/labium and a flared bell, his fingers in a suitable position for recorder-playing.

Cristoforo Caselli [Castelli] (da Parma) [called 'Il Temperelli' or 'Il Temperello"] (1461 – before 1520), Italian

• La Madonna col Bambino intronoeiss Hario, Giovanni Batista e Padre Eterno, Cristoforo Caselli (1461 – before 1521). Parma: Galleria Nazionale. Ref. Copertini (1932: pl. 3); Testi (1905: 13); Visual Collection, Fine Arts Library, Harvard University, C263.34[a]1; Paris RIdIM (1999); Rasmussen (1999b). Three boy musicians stand to the right, three singers to the left. The musicians play lute, vola da braccio or viol (mainly hidden behind the recorder player) and recorder. The recorder player has all fingers down (left hand lowermost) with right thumb in recorder position. The instrument is of alto size, cylindrical, with a gentle flare towards the bell. The bell opening shows an expanded bore. The window is not clearly depicted, but there is a metal or ivory mouthpiece curved towards the player's lips. Notes by Anthony Rowland-Jones (pers. comm.) An image provided by Angelo Zaniol (pers. comm.) shows without any doubt that the recorder beak is reinforced by a brass and not ivory or bone.

Nicola Casissa (op. 1730), Italian

• Vase of Flowers and a Putto with a Flute, oil on canvas, Nicola Casissa (op. 1730). Location unknown. Ref. Gabrius Data Bank (2002 - col.) Beside an enormous vase of flowers, a discretely draped putto with a floral wreath plays a small conical pipe, possibly a duct-flute. Offered for sale with a pendant, Vase of Flowers and a Putto with a Parrot.

Francesco Cassone (19th century), Italian

• Facade decorations (ca 1842), Francesco Cassone (19th century). Noto: Teatro Vittorio Emanuele III. Ref. Anthony Rowland-Jones (pers. comm., 2000). The theatre, designed by Cassone, was built in the main square, and clearly, even in 1842 Noto was proud of its baroque buildings (which are splendid even if collapsing) and the theatre architect modelled his façade largely on the many in the same area from a century earlier. Two sets of trophies on the left and right outside uprights at the front entrance and two more on the inner left and right, show a total of ten recorders of which three have clear window/labium's and all 10 have beaded mouthpieces. Two have baroque decoration at the beak. Those showing the foot have a markedly flared bell. Other instruments include flutes, panpipes, oboes, lutes, trumpets, curved horns, violas, cymbals, and lyres. There are two open music books. At the sides of the building are two more identical pairs of trophies each with a recorder crossed with an oboe. None is shown complete. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Bellerophonte [Bellerofonte] Castaldi

• Title page: Capricci a due stromenti, engraving, published by the composer, Bellerophonte Castaldi (1622). Ref. Fraenkel (1968: pl. 84); Boydell (1982: 285, pl. LXXV). The eccentricities of Castaldi's life, as well as the notion of caprice and fantasy, are reflected in this unusual title in which his first name is spelled backwards. Above the title is an angel with outstretched wings. Surrounding it are winged putti and fauns singing and playing musical instruments. A faun plays a shawm with a square fontanelle at the wrong end of the instrument, possibly through confusion with a wind cap. A trophy of wind instruments above his head include a lysarden and a sharply tapered recorder of plain design, the paired finger-holes at the bottom clearly shown. Above the female faun on the left is a much bigger cylindrical recorder the characteristic beak and three finger-holes of which are clearly visible; also a shawm, a straight tumpet and the body of another wind instrument. Winged putti at either side play fiddle and tamborine. At the bottom of the page is a trophy with a coat of arms and two theorbos.

Abdón Castañeda

• Virgin with Angels (ca 1610-1620), oil on canvas, 106 × 140 cm, Abdón Castañeda (ca 1580-1629). Valencia: Museo de Belles Artes San Pío V., Inv. No. 3860. Ref. Pintura y Musica en el Museo San Pio V (1995: 77, pl.-col.); Paolo Biordi (pers. comm., 2001). On either side of the Virgin and Child, decidedly female-looking angels plays a narrowly conical pipes. That on the right is a duct-flute played one-handed, the window/labium clearly depicted. The longer one on the left, played two-handed, is ambiguous with no window/labium visible, but three finger-holes are visible above the right hand and by the first finger and the bell is well flared, indicating that this might represent a recorder.

Giovanni Benedetto Castiglione (by name Il Grechetto, French Le Benèdette)

• Allegory [of the Arts], Giovanni Benedetto Castiglione (ca 1610-1665). Kansas City: William Rockhill Nelson Gallery of Art. Ref. Rich (1969: 126). A panoply of musical instruments of all kinds lie littered about the countryside; a woman dances in the foreground accompanied by musicians playing lute and bagpipe! A reclining satyr holds a small, slightly flared recorder. In the distance, revellers frolic in disarray.
• The Education in Music of the young Achilles by the Centaur Chiron, Giovanni Benedetto Castiglione (ca 1610-1665). Hamburg: Kunsthalle. Ref. Munich RIdIM (1999: Hkh 144). Achilles plays a guitar while Chiron points to the music. At Achilles' feet, tied together, a small slide trumpet and an alto recorder with a slightly fared bell. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• The Trojan War, an Illustrated Companion: The Life of Achilles: The Education of Achilles (2002). Achilles practices the guitar under the guidance of Chiron, whilst another centaur dozes beside a plinth. In the foreground lies a garland comprising a small shawm crossed by a flared-bell recorder and some flowers.
• From Varii Capricci, E Paesi: The Education in Music of the young Achilles by the Centaur Chiron, etching, 210 × 298 mm, by (1680 – 1767), by Gaetano Zompini (1700-1778) after Giovanni Benedetto Castiglione (ca 1610-1665). Boston: Museum of Fine Arts, 2001.641; San Francisco: Achenbach Foundation for Graphic Arts. Formerly attributed to: Anton Maria Zanetti I (1680–1767).
• Pan teaching the young Olympia to play the Flute (1648), engraving by Jo. Iacomo Rossi after, Giovanni Benedetto Castiglione (ca 1610-1665). Paris: Louvre. Ref. Bartsch (1854-1870, 21: 17.15); Rosenberg (1969: 92); Paris RIdIM (1999). Paris RIdIM (loc. cit.) give the title as Marsyas and Olympia. Pan shows Olympia how to play a pipe as she sits at the foot of a tree beside a culvert gushing water in which two putti gambol. The instrument is ambiguous and could be a chalumeau or duct-flute. The mouthpiece looks rather like a reed. However, two finger-holes are clearly visible below the midle finger of the lowermost (right) hand and one above, so this just might be a recorder. Notes (in part) by Anthony Rowland-Jones (pers. com., 2000).
• A Shepherd and his Flock attributed to Giovanni Benedetto Castiglione (1609-1670). Bordeaux: Musée des Beaux-Arts. Ref. Joconde Website (1999).
• Adoration of the Shepherds, drawing in sepia, Giovanni Benedetto Castiglione (1609-1670). Venice: Galleria dell'Accademia, exhibition Disegni genovesi 28 September 2002 – 6 January 2003. Ref. Angelo Zaniol (pers. comm., 2003). Shepherds crowd around the Holy Family. One of them, a bearded man, holds a tenor-sized flared pipe with a small notch at the blowing end which may represent the window/labium of a duct-flute.
• Adoration of the Shepherds, painting, Giovanni Benedetto Castiglione (1609-1670). Ref. Website: Early Music Gallery (2005 - col.) Admiring angels hover overhead, Joseph leans on his shoulder, asleep, and shepherds pay homage to the Holy Child. One of the shepherds holds a tenor-sized flared recorder.

Castrucci Workshop (1590s – 1624)

• Pietra dura table-top with coat of arms and monogram of Karl I von Liechtenstein (ca 1623), commessi di pietre dure, garnets, and gilt bronze, 93 × 89 cm, Catrucci Workshop (1690s – 1624). Vienna: Palais Lichtenstein, Inv.-No. SK1401. Ref. Anthony Rowland-Jones (pers. comm., 2007; Website: Palais Lichtenstein (2007 - col.) The coat of arms and monogram on the table-top in Commessi di pietre dure indicate the piece was commissioned by Prince Karl I von Liechtenstein. It is divided into small fields by strips of reddish-brown jasper, and the fields are inlaid with landscape images, trophies, coats of arms and geometric forms. The symbolism of these motifs reflects the influence of the scientists and philosophers active at the court of Emperor Rudolf II in Prague (1552–1612). The platonic bodies were equated with elements of cosmology: tetrahedrons and octahedrons thus stand for the elements fire and air. Within Baroque society´s concept of the hierarchy of nature, precious stones occupied a similarly outstanding position as princes did in society. This explains why it was a ruler’s prerogative to possess precious stones. One of the trophy designs shows two kettledrums and two trumpets with, behind the kettledrums, sticking out on each side, an instrument that looks like a thin-bore tenor recorder or a flute of some kind – but it does have a beaked mouthpiece and some very slight bell flare and so may represent a recorder.

Luigi Catani

• Ceiling decoration, Luigi Catani (1762-1840). Florence: Palazzo Pitti, Sala dell' Educazione di Giove. Ref. Anthony Rowland-Jones (pers. comm., 2002). A spectacular coffered ceiling on a diagonal pattern creating many spaces for single objects, such as panipes which appear frequently. Near the SW corner is an alto recorder with a scroll of music over it; the instrument, seen sideways on, has a beaked mouthpiece with a long windway. The window/labium is not visible, but three upper finger-holes are, before the music obscures the instrument from which the flared bell end obtrudes.

Sigismondo Caula

• St Carlo Borromeo Administers to the Sick, oil on canvas, 97 × 147 cm, Sigismondo Caula (1637-1694). Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 71); Anthony Rowland-Jones (pers. comm., 2002). An episode from the life of St Ambrogio. The sick in this case were sufferers from the plague in Milan in 1576. Among 17 musicians in various places, mainly trumpeters, a group at the left comprises 2 violas, bass, lute and a tenor recorder. The later is played right hand lowermost, the left hand rather too high up. The moutpiece is beaked, the body is cylindrical, possibly with a very slight bell flare. The player's position in shadow makes it impossible to see details other than the outline (Rowland-Jones, 2002).
• Saint Ambrose on Horseback in the Crowd, oil on canvas, Sigismondo Caula (1637-1694). Modena: Galleria Estense, Inv. 1884 n. 2927 Ref. Cremona, Università di Pavia, Facoltà di Musicologia (MLS); Institut für Musikwissenschaft (2003 - col.) St Ambrose, enters the city of Milan, looking around and taking in the reality of the place in its various aspects. He is surrounded by trumpeters accompanying his arrival in a solemn way, and by the men and women acclaiming him; there are also a group of brawlers, a poor man lying on his back – perhaps he is ill, a woman praying, and a group of street musicians with a narrowly cylindrical alto-sized recorder, violin, viola (?), cello and lute.

Louis de Caullery

• Nativity, oil, Louis de Caullery (op. 1582-1621/2). Ref. Gabrius Data Bank (2000 - col.) The Holy Family are surrounded by their visitors. In the clouds above, angel musicians sing and play lute, harp, organ, and a flared-bell pipe. The latter is possibly a recorder, since a shawm or trumpet would be rather out of place in this company. The "portholes" in the clouds through which the heads of putti can be seen are a curious touch.

Bartolomeo Cavarozzi [del Crescenzi]

• The Lament of Aminta, 1614-1615), Bartolomeo Cavarozzi (ca 1600-1625) & Master of the Acquavella Still Life (fl. 1610-1620). Italy: Private collection. Ref. van Heyghen (1995: 7, pl. 1, caption – the illustration itself is in serious error!); Exhibited: The Genius of Rome, Royal Academy of Art, London (2001); Anthony Rowland-Jones (pers. comm., 2001); Rowland-Jones (2001: 15). “Depicts Aminta's Lament (from Tasso), probably based on a lost work by Caravaggio. This has music in it, showing the title page of the score of Aminta Musicale, and the shepherd Aminta expresses his grief over the death of his lover Sylvia by playing on a recorder, while his companion shepherd, Tirsi, leans over a tambourine, presumably Sylvia's, with a viola and bow on the table just below. The recorder is a perfect representation – a rather heavily-bodied alto, with no decoration. Aminta's Hands are partly hidden by vine-leaves (left hand uppermost), but the paired little-finger-holes and the gently flared bell are clear, as is the bore end opening showing that most of the flare is in wood-thickening” (Rowland-Jones, loc. cit.)
• Young Violinist, oil on canvas, 100 × 120 ( originally 87 × 111) cm, attributed to Bartolomeo Cavarozzi (ca 1600-1625). Paris: Louvre Inv. R.F 1937-6. Ref. Musique-Images-Instruments 2 (1996: 240); Lallement & Devaux (1996: 239-241, pl. 6 – b&w); Joconde Website (1999); Visual Collection, Fine Arts Library, Harvard University, 372.It117.90[h]; Rasmussen (1999c). A young man (possibly a woman) languishes with one arm on a table on which lie his violin and a book of music, the other arm clutching a tambourine. Beside him, a soulful youth with a laurel crown plays a renaissance-style flared-bell alto recorder (perfectly depicted); in front of him on the table grapes are heaped. Formerly attributed to Giovan Battista Crescenzi. There are two versions superior in quality to this in private collections in London and Bergamo.
• Young Violinist, oil on canvas, attributed to Bartolomeo Cavarozzi (ca 1600-1625). Bergamo: Collection Parelari. Ref. Paris RIdIM (1999). A young man languishes with one arm on a table on which lie his violin and a book of music, the other arm clutching a timbrel. Beside him, a soulful youth with a laurel crown plays a flared bell alto recorder; in front of him on the table grapes are heaped. Formerly attributed to Giovan Battista Crescenzi. There are versions of this in a private collection in London and in the Louvre.

Jules-Cyrille Cave

• Flute Lesson, painting, Jules-Cyrille Cave (1859 – ca 1940). Location unknown: auctioned 22/03/2005 (sold) Ref. Gabrius Data Bank (2007 - col.) An old man in a loin-cloth and fur blanket teaches a young boy in a loin-cloth to play a narrowly conical pipe, possibly a recorder given the disposition of the fingers.

Cecco del Caravaggio = Francesco Buoneri

Cenni di Francesco di Ser Cenni

• Virgin and Child with Saints and Angels (?1369-1380), panel, 87 × 47 cm, Cenni di Francesco di Ser Cenni (op. ?1369-1415), Florentine. Florence: Galleria Luigi Bellini di Giusepppe e Mario Bellini, Lungarno Soderini, 5. Ref. Catalogue of the Biennale des Antiquaires, Florence (1973); Brown (1984, 1). Four angels play musical instruments: harp, two psalteries and a flared-bell pipe. Brown (loc. cit.) identifies the latter as a recorder or shawm', but it is impossible to tell.

Carlo Ceresa

• Still-life with Musical Instruments, Carlo Ceresa (1609-1679). Bergamo: Private Collection. Ref. Tintori (1985: 113). Beneath a tasselled drape on a table lie a violin, viola da braccio, guitar, lute and trumpet. From beneath the viola da braccio projects the foot of a recorder, the thumbhole of which is clearly depicted.

Michelangelo Cerquozzi [Michelangelo delle Battaglie]

• Shepherds Resting and Making Music, with a Cow and Sheep in a Landscape Circle of Michelangelo Cerquozzi Location unknown: auctioned 29 October 2003 (sold). Ref. Gabrius Databank (2007 - col.) A dark scene, presumably at night. A group of shepherds listen to one of their companions playing bagpipe whilst another plays on a cylindrical pipe, probably a recorder since the instrument is rather wide and the little finger of the lowermost (left) hand seems to be covering its hole.

Giovanni [Gian] Domenico [Perugino, Cavaliere] Cerrini

• The Muse Euterpe as a Young Woman Playing the Flute, oil on canvas, 63 × 47, Giovanni Domenico Cerrini (1609-1681). Rennes: Musée des Beaux Arts, Inv. 801.1.19. Ref. Joconde Website (1999). A young woman plays a very slender duct-flute (flageolet or recorder) the beak of which is just visible, though other details are obscure.

Giacomo [Jacop] Ceruti [il Pitocchetto] (1698-1767), Italian

• Contadino with a Recorder, Giacomo Ceruti (1698-1767). Treviso: Il Museo Civico 'Luigi Bailo'. A peasant boy plays an alto/tenor recorder with a marked bell flare. The window/labium is clear; all fingers of the upper (left) hand are on the instrument; the lowermost hole (for the right hand) is open and is not offset; and the second lowest finger is half-holing. The 4+3 fingering is unusual.
• [ A Man with a Recorder], oil on canvas, Giacomo Ceruti (1698-1767). Ref. Gabrius Data Bank (2002 - b&w.) A man, half length, in a wide-brimmed hat, holds a highly decorated recorder reminiscent of surving examples by Ancitui and Gahn.
• Portarolo seduto / The Basket Bearer, Giacomo Ceruti (1698-1767). Milan: Castello Sforzesco. Ref. Angelo Zaniol (pers. comm., 2004). The ancient term portarolo denotes the old trade of panage which was undertaken by the poorest youngsters. A young lad, warmly dressed, sits on a basket in a town square holding a cylindrical recorder of alto size.

Amidano Giulio Cesare – see Sisto Rossa Badalocchio

Bartolomeo Cessi

• Cupola decoration: Holy Trinity encircled by angel Musicians (1594), fresco, Bartolomeo Cessi (1556-1629). Siena: Cetosa di Maggiano. Ref. Graziani (1988: 19, 24, 163); Villa I Tatti ND623C54G7; Paolo Biordi (pers. comm., 2000). Christ is crowned by the Father, both seated on clouds, whilst a Dove hovers above them. In a circle round about the central scene angel musicians sing and play musical instruments including harp, trumpet, tambourine, violin, viols, triangle and sackbut. One angel holds aloft a flared-bell pipe (recorder or small shawm) the head of which is hidden behind a tambourine.
• Holy Trinity encircled by angel Musicians (1594), preparatory sketch, pen and brown ink, Bartolomeo Cessi (1556-1629). Ref. Graziani (1988: 163, pl. 18); Villa I Tatti ND623C54G7; Paolo Biordi (pers. com., 2000). Christ is crowned by the Father, both seated on clouds, whilst a Dove hovers above them. In a circle round about the central scene angel musicians sing and play musical instruments including harp, trumpet, tambourine, violin, viol, triangle and sackbut. Four angels play or hold ambiguous pipes (possibly recorders).

Marc Chagall [Mark Zakharovich Shagal]

• The Three Candles (1938-1940), oil on canvas, Marc Chagall (1887-1985). Private Collection. Ref. Compton (1985: pl. 100 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right a harlequin figure wearing a green cap plays an ambiguous flared-bell pipe that may be intended to represent a recorder.
• Madonna of the Village (1938-1942), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 83 – col.); Anthony Rowland-Jones (pers. com., 2001). Two singing angels are accompanied by a goat playing violin and an angel playing an ambiguous flared-bell pipe that may be intended to represent a recorder since a slight cut-out near the beak appears to represent a window/labium, and a number of finger-holes are visible.
• La Mariée (1950), Marc Chagall (1887-1985). Paris: Galerie Maeght; London: Sotheby's, November 1967. Ref. Anthony Rowland-Jones (pers. comm., 2000; 2002d: front cover - col.) Beside the bride a goat plays a cello (Chagall's imagery frequently included the violin family, usually painted blue – but this cello is brown), a cock beneath. At the bottom right is a pipe-player; wind instruments are infrequent in Chagall's work. The pipe is of alto size, expanding conically from a small mouth end to a bell which lacks a flare. If the instrument is not really recognisable its symbolism in this subject certainly is! Notes by Anthony Rowland-Jones (loc. cit.)
• The Concert (1957), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 98); Anthony Rowland-Jones (pers. comm., 2001). At the centre of this painting a bride and groom are shown as lovers. At the top right a girl in a striped blouse and checked skirt plays an ambiguous flared-bell pipe of alto/tenor size that may be intended to represent a recorder. Towards the top left a man plays a similar instrument.
• Dance (1962-1963), Marc Chagall (1887-1985). Image from Carol L. Gerten (Jackson). Ref. Compton (1985: pl. 100 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right musicans play piano, violin, cello, drum and an ambiguous pipe of tenor size that may be intended to represent a recorder.
• Music (1962-1963), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 101 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right two lovers are accompanied by musicians singing and playing cello and an ambiguous flared-bell pipe that may be intended to represent a recorder.
• The Large Circus (1968), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 116 – col.); Anthony Rowland-Jones (pers. comm., 2001). Men, women and children look up at a ghostly figure above them playing a yellow, flared pipe which could represent a trumpet or possibly a recorder. See also The Large Grey Circus, detail at top.
• Musicians (1979), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 120 – col.); Anthony Rowland-Jones (pers. comm., 2001). Next to a violinist a man in a red bowler hat plays an ambiguous flared-bell pipe of alto/tenor size that may be intended to represent a recorder.
• The Grand Parade (1979-1980), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 121 – col.); Anthony Rowland-Jones (pers. com., 2001). A man plays a flared wind instrument that seems almost certain to be a recorder. It is of alto/tenor size, the beak and window/labium are visible and there is an offset hole for the little finger of the lowermost hand.
• Vie, Marc Chagall (1887-1985). Around a mother, her husband and baby life revolves: lovers. musicians, dancers, the Eiffel Tower … In the top left-hand corner a woman plays a conical pipe which possibly represents a recorder.
• The Flute Player (ca 1957), colour lithograph on paper, 22.9 × 39.4 cm, Marc Chagall (1887-1985). Stamford: Harbour View Center for Antiques, FMT-33075 (for sale). Ref. Gabrius Data Bank, 20th Century (2002 - col.) A woman with flowing hair, on her side, plays a conical pipe with the characteristic beak of a duct-flute; a window/labium is hinted at; three finger-holes are visible; and the thumb of the uppermost hand seems well angled for recorder . A cello floats above her, and above that a bird. In the distance are some houses. Published by Maeght, Paris in 1957 as part of a set printed by Sorlier from the celebrated Mourlot atelier in Nice, France, where the artist lived. The set contained a total of 15 lithographs (including cover).
• The Magic Flute, lithograph on paper, Marc Chagall (1887-1985). Location unknown: copies auctioned 15 November 1990 (sold), 7 November 1996 (sold), 01 May 2003 (sold), 18 September 2003, 03 November 2005 (sold). Ref. Gabrius Data Bank (2007 - col.) In a garden are a snake, a lion, hens, a mule, a dove, and a chimera (with a hen's legs and feet, a woman's body, and angel wings) playing a flared-bell pipe. This work has also been offered for sale attributed to Charles Sorlier, Chagall's friend and a lithographer who worked with him in the production of his works in this medium.
• The Magic Flute, lithograph on paper, Marc Chagall (1887-1985). Location unknown: copies auctioned 04 March 2003 (sold), 15 September 2005 (sold). Ref. Gabrius Data Bank (2007 - col.) A coloured version of this work. In a garden are a snake, a lion, hens, a mule, a dove, and a chimera (with a hen's legs and feet, a woman's body, and angel wings) playing a flared-bell pipe. This work has also been offered for sale attributed to Charles Sorlier, Chagall's friend and a lithographer who worked with him in the production of his works in this medium.
• Maternité au Centaur (1957), coloured lithograph on pale cream wove Arches paper, 24.8 × 23.5 cm, Marc Chagall. London: William Weston & Co. 24/90 (sold 2002); San Francisco: Art gallery, Gleary St (East of Union Square), 88/90 (for sale 2002). Ref. Website: William Weston & Co. (2002). A reclining nursing mother is serenaded by a blue centaur who plays a conical pipe, possibly a duct-flute.
• Musicians (1962), lithograph in black ink on pale cream stiff wove arches paper, 32.4 × 24.6 cm, Marc Chagall (1887-1985). London: William Weston & Co., 42/150 (sold). Ref. Website: William Weston & Co. (2002). Four musicians play violin, cymbals, a curved horn, and a straight, flared pipe, possibly a duct-flute.
• The Flute Player, Marc Chagall (1887-1985). Seoul: The Soho (Hotel), Art Gallery. Ref. Website: The Soho. A man in blue hat and coat leans against a tree playing a narrowly conical pipe, probably a duct-flute.

Thomas Chambars – see Michelangelo Merisi da Caravaggio

Jerome François Chantereau [Chanterau or Chantreau] (ca 1710-1757), French

• The Dancing Dog (a. 1749), Jerome François Chantereau (ca 1710-1757). Stockholm: Nationalmuseum, NM 776. Ref. Anthony Rowland-Jones (pers. comm., 2000). Members of a peasant family sit and stand around, watching a small dog on his hind legs – whilst another dog watches disapprovingly! Music is provided by a boy playing what looks like an alto-sized duct-flute (possibly a recorder). The instrument is mainly slender and cylindrical, but has a considerable bell flare. Both the boy's hands are well down the instrument, with the little finger of the lower (left) hand outstretched to its hole near the start of the flare. Notes by Rowland-Jones (loc. cit.)
• Flute Player and Children in the Forest, oil on canvas, Jerome François Chantereau (ca 1710-1757). Location unknown: Auctioned by étude Tajan, Paris, 14 December 1998 (unsold). Gabrius Data Bank (2002 - b&w). In the forest a girl with a basket of flowers sits playing with her dog, a boy offers another girl a bouquet, and a second boy sits playing a long cylindrical pipe. The first finger of the piper's upper (right) hand and all four fingers of his lower (left) hand are covering their holes, so the artist may have had a recorder in mind.

Pierre Chapelle

• Recorder Player, painted ceramic tile, attributed to Pierre Chapelle (17-18th century). Sèvres: Musée National de Céramique. Ref. Benoit (1971: pl. xvii, fig. 21c); Anthony Rowland-Jones (pers. comm., 2007). A Hotteterre-style alto recorder is played by a young man, left hand lowermost.

Jeanne Norman Chase

• Flute Player, woodblock print on paper, Jeanne Norman Chase (contemporary). Ref. flautotraverso.it An edition of 30 prints were made. A young girl plays a stylised cylindrical recorder, the little finger of her lowermost (right) hand clearly positioned to cover its hole.

Chelsea Manufactory – see also Joseph Willems (1715-1766)

• Shepherd (ca 1752), ceramic figurine, 16.51 cm, Chelsea Manufactory, England. Boston: Museum of Fine Arts, 1988.647. A shepherd boy leans against a tree stump at left rear, with a spotted dog lying on an irregular base with applied flowers. He wears a turquoise hat and breeches, white coat with ruffs at neck and wrists, gold button, and black shoes with gold buckles. He plays a perfectly depicted baroque recorder, though the foot has broken off.

Joseph Christian (18th century), German

• The Nativity with the Adoration of the Shepherds (1744-1748), gilded limewood relief, Joseph Christian. Zwiefalten (Swabia): Cathedral, back panels of stalls on both sides of the choir. Ref. Rowland-Jones (2000a: 11-12, fig. 1-4) -b&w; Rowland-Jones (2000b: fig.-b&w). "Three shepherds are arriving, and others have already placed their gifts before the crib. The two shepherds at the left bring a trombone and a bass recorder – unlikely instruments for simple shepherds to make, but full of portent. For both trombones and recorders are associated with death . . . two shepherds' pipes, possibly modeled by the artist on descant recorders, placed immediately at the foot of the crib, one upon the other, in the form of a cross" (Rowland-Jones 2000a, loc. cit.)
  
  "Shepherds have little to give the Infant Jesus – a lamb, their crook, or a pipe (their music) which are their identifying attributes, signifying they are offering themselves to Christ. But the gifts have a secondary symbolism – its feet tied, the Paschal Lamb; and instruments associated with death – recorders and trombone. Closest of all to the crib, two shepherd's pipes are placed in the form of a cross" (Rowland-Jones 2000b, loc. cit.)

Joseph Christophe (1661-1748) – see Charles Le Brun (1619-1690)

Petrus Christus [or Cristus or Christophorus]

• The Virgin of Grenada, wood, 77 × 525 cm, Petrus Christus [or Cristus or Christophorus] (fl. ca 1442-1473). Barcelona: Collection Miguel Maten. Ref. Paris RIdIM (1999). The Virgin and Child sit beside a road winding through the countryside with an extensive fortified wall. On either side angel musicians play a lute and a long, cylindrical flared-bell recorder. The bell has a little decorative turning, the window/labium and the disposition of the fingers are clearly shown.

Kristen Cicilova

• Music of Spring, pen, watercolour, pencil and pastel on paper, Kristen Cicilova (contemporary). Ref. American Recorder (2007: cover - col.) A neo-baroque recorder sprouts branches in which birds nest and beneath which they feed.

Conte Carlo Cignani

• Personification of Painting and Sculpture, oil on canvas, 97.2 × 74.9 cm, Carlo Cignani (1628-1719). New York: Sotheby's, Old Maser Paintings, 14 January 1994, Lot 205 (Artifact 2003), Item 114 (Gabrius Data Bank (2002). Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001); Gabrius Data Bank (2002 - col.); Artfact (2003). A putto holding a laurel wreath and a flared-bell recorder crowns a female personification of painting and sculpture who holds an artist's palatte in one hand and a pair of dividers in the other which rests on the pate of a marble bust. The recorder's bell is exceptionally wide; the beak can just be seen beneath the putto's hand, and seven finger-holes are clearly visible, the lowermost slightly offset.
• Shepherd and Shepherdess, Carlo Cignani (1628-1719). St Petersburg: Hermitage. A shepherd plays his recorder to a shepherdess whose two children gambol over a sheep sitting in her lap. The recorder, a slender, flared-bell alto-sized instrument, is beautifully depicted, the beak, window/labium and several finger-holes clearly visible, , including one of the paired holes for the lowermost finger.

Lodovico Cigoli [Lodovico Cardi; il Cigoli]

• Adoration of the Shepherds (ca 1601-1602), oil on canvas, 98.5 × 61 cm, Lodovico Cigoli (1559-1613). Hartford: Wadsworth Atheneum. Ref. Zafran (2004: 54-55, pl. - col.) At centre-right a shepherd boy with puffed cheeks lays a small cylindrical duct-flute, and an old bearded shepherd next to him holds a lamb with its legs tied, a basket of eggs beside him – all symbolic details. The window/labium of the pipe is clearly depicted, and the young lad plays with all fingers down, except finger 6, with the right hand uppermost. The little finger of the lowermost (left) hand appears to be in a hole-covering position, but higher up, although the fingers are down, two finger-holes are fully visible under the right hand and one partly under the left-hand.

Cima da Conegliano [Giovanni Battista]

• Nativity, Cima da Conegliano (ca 1459-1517/18). Venice: Chiesa dei Carmine. Ref. Anthony Rowland-Jones (pers. comm., 2000); Angelo Zaniol (pers. comm., 2003). A particularly beautiful painting depicting the Holy Family with shepherds and Saints paying homage to the Christ-Child in his wicker crib in the foreground. In the background is a landscape with mountains, a castle, a shepherd and a child with a dog and sheep. The shepherd plays a slender, cylindrical tenor-size duct-flute left hand lowermost, window/labium clear, and two finger-holes below the lower hand. The child sleeps at his feet on the grass with a similar instrument of alto-size (with a flange at the bell-end) under his hand.

Michelangelo Cinganelli (1580-ca 1635), Italian

• Angel Musicians, fresco, Michelangelo Cinganelli (1580-ca 1635) Florence: Casa Buonarroti. Camera degli Angioli (via Gibellina 70). Ref. Paolo Biordi (pers. comm., 2000). Four angel musicians sing and play viol, tambourine and a flared-bell pipe of alto size. The latter is held almost horizontally and the upper part is hidden behind the neck of the viol; however, all fingers of the lowermost right hand seem to be covering their holes, and the flared bell is characteristic of the recorder rather than a flute.

Antonio Ciocci [Cioci] (op. 1722-ca 1792), Italian

• Still-life, oil on canvas, 65.5 × 102.8 cm, circle of Antonio Ciocci (op. 1722-ca 1792). Location unknown: sold Christie's London, 11 December 1992, lot 428. Ref. Sale catalogue (1992: 66, fig. 72); Paris RIdIM (2000); Gabrius Data Bank (2001 - col.) On a tapestry-covered table are a bowl of carnations, an oil painting, an engraving, an open music book, sheets of music, papers, a violin, a guitar (face down) and a cylindrical alto recorder, the foot hidden behind the guitar. Auctioned 11 Dec. 1992, sold; 23 May 1997, unsold (Gabrius, loc. cit.)

Giacomo-Francesco Cipper (or Zippa), called 'Il Todeschino' [or 'Todeschini']

• The Duet, Giacomo-Francesco Cipper (?1664-1736). Bremen: Kunsthalle. Ref. Archiv Moeck; Munich RIdIM (1999: BMkh 21). A man holds a flared-bell alto recorder of tenor size; his companion holds a bassoon and a piece of music; a dog and a young boy look on expectantly.
• Musicians, canvas, 115 × 95 cm , Giacomo-Francesco Cipper (?1664-1736). Florence: Antique Dealer "Florentia", Bellini et Berti. Ref. Paris RIdIM (1999). A man playing a baroque oboe accompanies his wife who sings from a sheet of music beating time with another furled in her hand and gazing heavenward. Both seem oblivious of the small child at their feet who blasts away on an alto flared-bell recorder grasped in one hand.
• The Recorder Player, Giacomo-Francesco Cipper (?1664-1736). Venice: Academy, Inv. 856. Ref. Paris RIdIM (1999); Website: klassiskgitar.net (2007 - col.) An old man holds an alto flared-bell recorder which he is about to play from a music book open on the table in front of him. In the foreground, a cittern leans against the wall; behind him an old woman and a young man sing from a sheet of music.
• Players at Mora, Giacomo-Francesco Cipper (?1664-1736). Madrid: Prado. Ref. Anthony Rowland-Jones (pers. comm., 2001). Mora is a game originating in Spain, involving clapping and punching. Oil on canvas. A single musician plays a perfect alto size recorder, with all details clear and fingers well placed (right hand lower). This is a hand fluyt type of instrument, with bell flare after a slight contraction in the exterior shape.
• Market Scene (ca 1670-1738), 120 × 155 cm, Giacomo-Francesco Cipper (?1664-1736). Location unknown: sold Sotheby's, London, 24 February 1971. Ref. Sale catalogue (February/March 1971); Paris RIdIM (2000). A group of peasants are gathered at a market. A young man has a basket of fish; a young woman weighs out some ?cherries taken from a basket in front of her which also contains some asparagus. Behind them a young woman offers a coin in payment for the ?cherries, whilst two beggars beg from her. In this distance a young boy plays a cylindrical pipe, probably an alto-sized duct-flute (flageolet or recorder).
• Musical Pair with a Singing Bird, oil on canvas, 92 × 70 cm, attributed to Giacomo-Francesco Cipper (?1664-1736). Location unknown: formerly Private Collection, Europe; offered for sale by Dorotheum, Vienna, Lot 5, 22 March 2001 (unsold). Ref. Paris RIdIM (2000); Sale Catalogue: Dorotheum, Vienna (22 March 2001 - col.); Gabrius Data Bank (2002 - col.) A woman sitting at a table sings from a manuscript held in her left hand, a second page held in her right from which a bird standing on the table appears to be reading his own part! A third manuscript page lies curled up on the table. To her right a young man in a three-cornered hat plays a slender flared-bell one-piece alto recorder, apparently from the same part as the bird!
• A Peasant Man playing a Recorder at Table, oil on canvas, 77.5 × 67.3 cm, follower of Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Sale catalogue; Paris RIdIM (2000); Ref. Gabrius Data Bank (2002 - b&w.) A middled-aged man with sad eyes sits at a table playing a flared-bell duct-flute of soprano/alto size. However, his lower-most little finger supports the instrument from underneath, so this may represent a flageolet rather than a recorder.
• A Pair of Musicians, oil on canvas, 109 × 92 cm, follower of Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Sale catalogue; Paris RIdIM (2000). A bearded man (wearing a wreath of leaves) plays a flared-bell alto-sized recorder with a wave-profile head. A woman (wearing a sort of turban) beside him holds a sheet of music from which he reads. On a table immediately in front of them lie a violin and an open book.
• Cittern Player, oil on canvas, 96 × 132.5 cm, Giacomo-Francesco Cipper (?1664-1736). Stockholm: Nationalmuseum, Inv.-Nr. NM 761. An old man plays a diatonically fretted cittern. Behind him the bells of two wind instruments can be seen: one appears to be a shawm, the other a recorder, the last four finger-holes of which are visible. On a table in front of the player seven tortoises frolic – perhaps the player keeps them to use their shells for plectra!
• A Peasant Man playing a Recorder, oil on canvas, attributed to, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A man in a cap holds a crudely depicted recorder. Auctioned 22 February 1996, sold (Gabrius, loc. cit.)
• Concerto Campestre, oil on canvas, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A smiling shepherd holds a flared-bell recorder of alto-size whilst his shepherdess companon plays a Jew's harp. A dog at their feet looks interestedly up at them. In the foreground sits a young boy with his back with us; it is unclear what occupies him. The recorder has a sharply flared bell and the beak appears to be made of a darker material than the body of the instrument. Auctioned 5 December 1991, unsold; 15 October 1993, unsold; 28 November 1995, sold (Gabrius, loc. cit.)
• A Loving Couple with a Flute player, a Little Girl, a Dog and a Still-life in a Landscape, oil on canvas, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A loving couple share a meal from amongst the bread, fruit and wine on the table before them. Beside them a young man holds a pipe (possibly a recorder); at their feet are a dog and a little girl. Auctioned 1 March 1994, sold (Gabrius, loc. cit.)
• An Old Woman with a Mouse Trap, a Girl with Knitting and a Peasant Boy with a Recorder in a Farmhouse, oil on canvas, 148 × 118.8 cm, Giacomo Francesco Cipper (1664-1736). London: Christie's, 16 December 1998, Lot 60. Ref. Artfact (2004). One of a pair of paintings offered for sale, the other depicting a peasant woman playing the hurdy-gurdy, a girl playing the dulcimer and drinking, and a youth in a farmhouse. Another painting by Cipper of these peasants with a mousetrap and a cat, where the youth also holds a recorder is illustrated by Proni (1994: 70, fig. 20). Not seen.
• Musician, painting, Giacomo Francesco Cipper (1664-1736). Location unknown: auctioned 3 December 2002 (unsold). [Possibly Sotheby's (Milan), Sale MI0206, Old Master Paintings.] Ref. Gabrius Databank (2007 - col.) A young man in a feathered cap holds an alto-sized, slender, flared bell recorder right hand uppermost, the window/labium clearly depicted.
• Shepherd Recorder Player, oil on canvas, 75 × 60 cm, Giacomo Francesco Cipper (1664-1736). Ljubljana: Narodna Gallerija, Inv. S 982. A young shepherd wearing a floppy hat plays a tenor-sized cylindrical recorder with a flared bell. The labium/window are clearly shown and five fingerholes are visible, including all four for the lowermost (left) hand.
• Peasant Banquet with Young Flute Player / Merry Family, oil on canvas, 144 × 114 cm, Giacomo Francesco Cipper (1664-1736). Paris: Galerie Cannesso. Ref. Exibition Catalogue: TEFAF, Maastrict, 7-16 March 2008 (col.); Apollo (March 2008: col.); Constance Scholten ex Anthony Rowland-Jones (pers. comm., 2008). A young family are seated at a table on which is bread, a wedge of cheese and some walnuts. A man holding a stoneware jug points to his wife who smiles in our direction. A young girl seats in front of them eating soup from a bowl. Behind them is an old woman, and a young girl wearing a bonnet who plays a cylindrical, alto-sized recorder with a flared bell.

Pieter Claesz. or Claese (also called Pieter Claexz. van Haarlem)

• Still-life, oil on canvas, 49.5 × 65 cm, Pieter Claesz (ca 1597/8-1661). Location unknown: formerly Sweden: Private Collection; auctioned by Phillips, London, 31 March 1992. Ref. Vroom (1980, 1: 27, fig. 22); Griffioen (1988: 438-439); Weltkunst 6: 745 (1992 - col.) Scattered on a table are a book open at pages headed Memento Mori, a candlestick and dying candle, playing cards, a glass roemer, a watch, a document with a seal, a human skull and thighbone, an hourglass, books, a lute and a cylindrical recorder.